By Gregg Shapiro

Contributing writer

“You Can Run: Gay, Glam, and Gritty Travels in South America” (Harrington Park Press, 2007, $19.95) is a fitting title for writer/actor Jesse Archer’s collection of travel essays because he is a man on the move. Not only does he transport himself through various parts of South America in his book, but he’s also in motion as a columnist for Out Magazine, a screenwriter and an actor. Regarding the latter, Archer can currently be seen reprising his role as loose Luke in “A Four Letter Word,” a sequel of sorts to “Slutty Summer,” in which he originated the part. Archer co-wrote the script for sex romp “A Four Letter Word,” with the movie’s director Casper Andreas, and stars alongside “Dante’s Cove” actor Charlie David.

Gregg Shapiro: I want to begin this interview by confessing that I am something of a novice to the world of “travel writing,” but was encouraged when, while I was reading your book “You Can Run,” I came across the chart of the “Top 20 Narrative Travel Books” in the July 6, 2007 issue of Entertainment Weekly and saw all of the titles listed. Had you been a reader of travel book prior to writing your own?

Jesse Archer: Not prior, but as I was preparing my book proposal I read (Pico) Iyer, (Paul) Theroux, (Bill) Bryson, (Bruce) Chatwin, and a few others to get a sense of where “You Can Run” fit in among other travel books.

GS: Who would you consider to be your travel-writing influences?

JA: Bill Bryson and I share the same wit and knack for noticing the details and poking fun at them, but “You Can Run” is a travelogue within the larger framework of a memoir. As for influences, I read Augusten Burroughs’ “Dry,” which was such a swift and hysterical read that it convinced me to put “You Can Run” into the present tense, which instantly made my pacing and the laughs much more immediate.

GS: “You Can Run” is set in South America, but I was wondering if you’ve you been to all 50 of the United States?

JA: Not yet (laughs)!

GS: “You Can Run” is an enjoyable read, with a generous dose of humor (especially in the chapter in which you give English lessons), eroticism, self-reflection and, of course, observations about the various settings in which you find yourself. Was it always your intention to tell your travel adventures in essay form and not fictionalize them?

JA: Thanks. I write to make sense out of a situation—it’s a great form of creative therapy. Fiction would not be nearly as gratifying. As a writer, when you are completely open and truthful, not only can you deliver a poignant story, but you can pack it full of fun.

GS: There is a great quote on page 103: “Gay men travel to clean places where they can spend money,” which seems to be the antithesis of chapters such as “Vigilance” and “The Long Goodbye,” which might have some readers asking why a person would want to travel in this way. How would you respond to them?

JA: I hope it is the antithesis of the whole book! That’s the crux for me—to be a traveler, not a tourist. I appreciate the Third World because you are allowed to take your life in your own hands and risk. We are so inured to risk in America. I wanted to get down and dirty, to experience and understand. It’s very difficult to understand another culture from the lounge at Club Med.

GS: Do you have other similar books planned?

JA: My next book will likely be a compilation of global sexcapades. So it won’t really be similar to “You Can Run”—unless you count that brief but torrid love affair I had with a plantain banana (laughs).

GS: Nearly 100 pages into the book, there is the first of several illustrations. Can you please say something about why they were included?

JA: I had those drawings inserted for people who can’t read (laughs). Kidding. Walter, the prissy Argentine who features prominently in “You Can Run” is an artist. I asked him to do the renderings for me. Charles Dickens put these in his novels—you turn a page and are surprised to find a random illustration. They always make me smile, so I put them in my own book.

GS: 2007 is a busy year for you because, in addition to having your book published, you also co-wrote and star in the movie “A Four Letter Word,” a sequel of sorts to “Slutty Summer,” in which you reprise your role as Luke.

JA: It’s true—a book and a movie. I feel like I just had twins (laughs)!

GS: How much of Jesse is in Luke and vice versa?

JA: Luke, like me, is an unapologetic slut (laughs) and a fierce believer in his own independence. We also both suffer from the Peter Pan problem—we don’t want to grow up. One big difference is that Luke might just shrivel up and die if he leaves the gay ghetto, whereas I traveled through South America and cut maggoty worms out of my feet (laughs).

GS: “A Four Letter Word” takes on a number of different subjects, including modern society’s reliance on groups such as AA or SCA (Sexual Compulsives Anonymous) to deal with addiction and compulsion. You ruthlessly poke fun at them in the movie, but would you say that that is how you really feel about them?

JA: Whatever you need to do to take care of yourself, I say go for it. Everybody has a need to belong somewhere. Twelve-step groups are a great springboard for getting back on your feet, but I don’t think they need be a lifestyle. Then again, I haven’t hit rock bottom. Yet (laughs).

GS: The movie also addresses gay clichés and stereotypes. Do you think they are a necessary evil or would you rather that we did away with them altogether?

JA: Stereotypes don’t come out of thin air—it would be impossible to do away with them completely. I think what’s important is to remember there are exceptions, and to simply be who you are, and not stoop to becoming the stereotype. That’s the pity.

GS: “A Four Letter Word” takes full advantage of its title, offering up several examples. What are some of your favorite four-letter words?

JA: “Live, live, live!” Auntie Mame knows best.